Turin
61 creative works found
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that’s a nun, in case you wondered
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The original Fiat 500. The one we love. Unless we have to drive it…
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A small sculpture in a Turin’s park. That’s all I know…
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Torino, lungo Po di notte, Italy
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Gouache on paper. In 1988, carbon dating of the Turin Shroud revealed that it was a medieval or Renaissance forgery. / Therefore it could not be the alleged Christ’s burial cloth, miraculously imprinted with his image, as millions believed. Yet many questions remained. How could a hoaxer of 500 or more years ago have created an image that appears so astonishingly life-like when seen in photographic negative? How was such an inexplicable image formed? Who was the genius behind it? And who would have dared to fake the world’s most famous christian relic? In 1994, researchers Lynn Picknett and Clive Prince presented their theory that the shroud was a clever hoax perpetrated by none other than Leonardo da Vinci, who had managed to find a way to simultaneously jibe the christian church and to experiment with photography. (Leonardo’s work with optics and the camera obscura caused him to be accused of necromancy in the 1480s.) / / If Picknett and Prince are correct – and their argument is a compelling one – Da Vinci pre-empted modern photography by centuries. (Turin Shroud – In Whose Image? by Lynn Picknett and Clive Prince.) However, following my own forensic research into the Turin Shroud, gaining access by climbing under the robes of an arthritic priest and making noises like a waterwheel, I have uncovered an even more controversial origin. Upon much closer inspection the relic clearly is the work of a very, very clever rabbit. Proof of the Easter Bunny at long last? Where was this mysterious wascially wabbit from? / Further research and some juicy carrots may reveal all.
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Torino, Vittorio Veneto square at night. Italy FEATURED in “JPG Cast-Offs Group” on April 20th / FEATURED in “European Everyday Life Group” on April 21th / FEATURED in “Italy and all Things Italian Group” on April 22th
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Turin, Italy
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Turin, 2003
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The Mole Antonelliana is a major landmark of the Italian city of Turin. It is named for the architect who built it, Alessandro Antonelli. Construction began in 1863. Nowadays it houses the National Museum of Cinema, and it is believed to be the tallest museum in the world. The building was conceived and constructed as a Jewish synagogue. The Jewish community of Turin had enjoyed full civil rights since 1848, and at the time the construction of the synagogue began, Turin was the capital of the new Italian State, a position it held only from 1860-64. The community, with a budget of 250,000 lira and the intention of having a building worthy of a capital city, hired Antonio Antonelli. Antonelli was notable for having recently added an “idiosyncratic” 121 metre-high dome and spire to the seventeenth-century Church of San Gaudenzio at Novara. He promised to build a synagogue for 280,000 lira. [1] The relationship between Antonelli and the Jewish community was not a happy one. He immediately began to propose a series of modifications which raised the final height to 113 meters, over 47 meters higher than the dome in the original design. Such changes, in addition to greater costs and construction time than were originally anticipated, did not please the Jewish community and construction was halted in 1869 with a provisional roof. With the removal of the Italian capital to Florence in 1864, the community shrank, but costs and Antonelli’s ambition continued to rise. In 1876 the Jewish community, which had spent 692,000 lire for a building that was still far from finished, announced that it was withdrawing from the project. The people of Turin, who had watched the synagogue rise skyward, demanded that the city take over the project, which it did. An exchange was arranged between the Jewish community and the city of Turin for a piece of land on which a handsome Moorish Revival synagogue was quickly built. [2] The Mole was dedicated to Victor Emmanuel II. Antonelli again began construction, which took the height to 146, 153, and finally 167 meters (548 feet). From 1908 to 1938, the city used it to house its Museum of the Risorgimento, which was moved to the Palazzo Carignano in 1938. On 23 May 1953 a violent cloudburst, accompanied by a tornado, destroyed the uppermost 47 metres of the pinnacle, which was rebuilt in 1961 as a metal structure covered with stone. Since 2000, the building has housed the Museo Nazionale del Cinema, the National Museum of Film. The Mole appears on the reverse of the two cent Italian euro coins and was the official emblem of the 2006 Winter Olympics. It is also the official emblem of the 2005 World Bocce Championships and the 2006 World Fencing Championships. On one side of the four-faced dome, the first Fibonacci numbers are written with red neon lights: they are part of the artistic work Il volo dei Numeri (“Flight of the numbers”) by Mario Merz. HDR with 5 RAW.
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Torino, Piemonte, Italy
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The original Fiat 500. The one we love. Unless we have to drive it… Now in a conservative melodramatic black edition!
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The original Fiat 500. The one we love. Unless we have to drive it… Special edition for the Revolution competition!
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Diana’s Chamber
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at the market in Turin, Italy
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Turin 2003
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This was taken in Turin, Italy, in May 2007. I’ve cropped the image square and changed it to black and white. We didn’t go searching for this old ampitheatre, we were just walking around the streets of Turin seeing what we could find and we stumbled across this at the end of a normal street. It was a blisteringly hot day and we managed to get some shade for a while under some arches at the back of the theatre, where the photo was taken.
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Thanks for your attention.
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Thanks for your attention.
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Torino at night, Italy FEATURED in “Night Photography Group” on April 28th
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The Mole Antonelliana is a major landmark of the Italian city Turin, which has held the Olympic Winter Games in 2006. Originally, it was intended to be a Jewish synagogue.
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